"R- ^ 




Class JULLM 



Copmght N". 



COPYRIGHT DEPOSIT. 



1 




CHAFING DISH. 



COPPER WORK 

A Text Book for Teachers and Students 

IN THE 

Manual Arts 

FULLY ILLUSTRATED 



BY 

AUGUSTUS F. ROSE 

Providence Technical High School and 
Rhode Island School of Design 



THE DAVIS PRESS 

'Worcester, Massachusetts 

igo6 



tT 




LIBRARY of CONGRESS 
Two Copies Received 

OCT 11 1906 

^ Copyrleht Entry , 

CUSS A x'"^" •*•<*• 

COPY B. 



Copyrighted, 1906 
By Augustus F. Rose 






xV 






f 



V 






y. 



v^ 



TABLE OF CONTENTS. 



PAGE 



Chapter I. — Introduction, Equipment, Materials i 

Chapter II. — ProbleniSx, Ji^qutcbeons ^nd Hinge Tail 13 

i dOiW I r /.^; i 
Chapter III. — Draweii an4. Pc)p;:.^)^ull|and Hinge 20 

Chapter IV.— Finger plated. Pad Combers, Box 

Comerg, Stainp Box ajid Match Box 35 

Chapter V. — Sconce, Picture Frame, Soldering, 

Repousse or Embossing 53 

Chapter VI. — Raised Forms 67 

Chapter VII. — Porringer, Trays or Plates 78 

Chapter VIII.— Ink Pot, Sealing Wax Set and Watch 

Fobs 84 

Chapter IX. — Spoons, Sugar Tongs and Tea Scoops, 
Rivets, Drawing Wire and Tubing, 
Polishing, Stamping Work, Coloring 95 

Chapter X. — Enameling 104 



PREFACE. 

IN this book the subject of Copper Work, as it may be 
introduced into the public schools, is treated to the 
extent of specifying an equipment and suggesting some of 
the possibilities of a course. Not only will there be found 
an abundance of illustrative material on this subject, con- 
sisting of drawings and photographs of various objects 
executed by upper grammar and high school pupils, but also 
a detailed description of the processes necessary for the 
execution of many of the designs. It is not expected that 
the problems as given will be slavishly copied, but rather 
that they will make clear the methods and processes that 
may be applied in the working out of similar problems. It 
is hoped that this volume will be especially helpful to 
teachers in the Manual Arts who are trying to introduce 
Metal Work into the regular school course. 

The author is indebted to Charles J. Martin and Antonio 
Cirino, for valuable assistance in making some of the 
illustrations. 

AUGUSTUS F. ROSE. 



LIST OF ILLUSTRATIONS. 

PLATE. 

PLATE PAGE 

1. Anvils ----------- 5 

2. Hammers ---------- 7 

3. Shears and Plyers -------- g 

4. Escutcheons ---------- 14 

5. " Photograph ------- 15 

6. Hinge Tails ---------- 17 

7. " ---___---- 18 

8. " _---_--_.- 19 

9. Drawer and Door Pulls ------- 21 

10. " " ___---- 22 

11. " " -___-__ 23 

12. " " Photograph - - - - 24 

13. Hinges ----------- 30 

14. " ----------- 31 

15. " ----------- 32 

16. " -_-__-----_ 33 

17. " ___-------- 34 

18. Finger Plates --------- 36 

19. " Photographs ------ 37 

20. Pad Comers --------- 3^ 

21. Box Corners --------- 41 

22. " -_---_--- 42 

23. Stamp Boxes --------^44 

24. " ------.-_ 46 

25. " Cover Designs - - - - - 47 

26. " Photograph ------ 49 

27. Match Boxes --------- 51 

28. " Cover Designs ----- 52 

29. Sconce A ---------- 54 

29a. " Pattern -------- 55 

30. Desk Set. Photograph ------- 56 

31. Sconce B ----------58 

32. Picture Frame --------- 60 



33 
34 
35 
36 
37 
38 

39 
40 

41 
42 

43 
44 
45 
46 

47 
48 

49 
50 



LIST OF ILLUSTRATIONS— (Continued). 



Picture Frame Designs ------- 62 

Raised Forms --------- 68 

" Photograph ------ 71 

Pitchers >_-_------ 73 

Tea Set ---------- 76 

Pupils at Work. Photograph ----- 77 

Porringer ---------- 79 

" Handles -------- 80 

" Photograph ------- 82 

Ink Pot ---------- - 85 

" Photograph -------- 86 

" ___________ 88 

Sealing Wax Set -------- 90 

Watch Fobs _----_-__ 92 

" Photograph ------- 93 

Spoons ----------- 96 

Sugar Tongs and Tea Scoops ----- 97 

Rivets -- ---------99 

FIGURES. 



FIGURE 



1. Annealing Tray --------- 3 

2. Sawdust Box ---------- 4 

3. Saw Frame ---------- 6 

4. Sand Bag or Engraver's Pad ----- 6 

5. Chasing Tools --------- 9 

6. Engraving Tools --------- 9 

7. Dapping Tools and Die -- - - - - - 10 

8. Sawing ----------- 13 

8a. Sawing. Photograph ------- 16 

9. Draw Pulls ---------- 20 

TO. " ---___---- 20 



(( 



11. " -_______-- 20 

12. " ---____--- 25 



LIST OF ILLUSTRATIONS.— (Continued.) 



Draw Pulls 



d, 



Stamp Box 



13. 

14. 

15a. 

15b. 

15c, 

i5e. 

1 6a. 

1 6b. 

i6c. 

i6d. 

i6e. 

18. 

19. 

20. 

21. 

22. 

23. 
24. 

25. 
26. 

27. 
28. 
29. 

30. 

31. " " _ _ _ 

32. Drawing Wire. Photograph 

33. Stamp ----- 

34. Engraving. Photograph - 

35. Engraving _ - - - 



- - - 25 

- - - 25 

- - - 26 

- - - 26 

- - - 26 

- - - 26 

- - - 27 

- - - 27 

- - - 27 

- - - 27 

- - - 27 

- - - 43 
---------- 45 

" ---------- 45 

Chasing. Photograph ------- 66 

" Hammer -------- 66 

Hammering. Photograph ------ 69 

- - - 69 

- - - - 72 

- - - 74 

- - - 75 

- - - - 78 

- - - 84 
- 100 



Raised Bowl, First step - - - 
Surface Plate. Photograph - 
Snarling Iron ----- 
" in use. Photograph 

Soldering Porringer - - - - 
Dapping Tools in use - _ - 
Drawing Tubing - - - - - 



100 

lOI 

102 

105 
107 



Chapter I. 

INTRODUCTION. 

During the past few years many experiments have 
been tried in the development of Manual Training Courses 
and much time has been spent in discussing of what lines 
of work they should consist. Wood and iron were the first 
materials used and are yet indispensable, but experience 
has led those who are developing this work to believe that 
there are other materials as well adapted to Manual Train- 
ing work in all its various forms. Clay, used not only for 
modeling but for ceramic work as well, leather, brass and 
copper are materials that have also been put to the test 
and found satisfactory in many ways. 

In ancient times copper was known as a useful metal, 
and down through the ages it not only held its own but 
increased in usefulness. Among its valuable properties may 
be mentioned toughness and ductility ; its toughness enables 
it to be beaten into thin strong sheets, while its ductility 
enables it to be drawn out into fine wire. Copper readily 
forms important alloys, such as brass from copper and 
zinc. 

Work in sheet copper and brass has been introduced into 
the public school course with gratifying results. It has 
proved itself to be a valuable departure from other branches 
of Manual Training work and gives promise of being per- 
manent. Sheet, copper and brass offer possibilities for 
various kinds of treatment, either in the fiat work which 
includes saw piercing, embossing and enameling, or in the 
raised work. 

There is something about this work that appeals to 
pupils and holds their interest. The nature of the material, 
hard enough to offer some resistance and yet pliable enough 
to allow its being wrought into many forms, the durability 

II 



of the object when completed, and the variety of colors 
that may be obtained, especially with copper, all tend to 
make the subject not only interesting but fascinating. 

All exercises in sheet metal should be of some real 
value to the pupil; no time should be spent on work done 
simply for practice, but the various steps should be learned 
in the making of useful objects of artistic worth. In this, 
as in other work, it seems best to give each member of 
the class the same work for a while until he has become 
acquainted with the different tools and learned the limita- 
tions of the material. When this has been accomplished, 
each pupil may be allowed to work out his own designs. 
In this the educational value is very greatly increased. The 
pupil conceives the idea and makes several sketches of it, 
carrying it through repeated changes until it is brought to 
the perfected design appropriate in every way to the idea. 
Some may not be fortunate enough to get a full equipment 
so that all of the various kinds of metal work may be done, 
but such may be able to make a beginning by doing light 
work in saw piercing, which requires a very limited 
equipment. 



12 



EQUIPMENT. 

The equipment necessary for a start in Copper work 
need cost but little if the teacher is somewhat ingenious, 
for the patterns of the various anvils may be made by him; 
from these patterns the castings can be made at any 
foundry for three or four cents per pound. It is better to 
begin with a few anvils and tools and to add one or two at 
a time as the need is felt for a more varied supply. If the 
work can be done in a room already fitted with benches and 
vises, it will reduce the first cost considerably. Any home- 
made bench will do if a regulation one is not to be had. 
One that has given satisfaction was made of 2" x ^" stud- 
ding with plank tops in lengths of 12 feet, giving space for 




Figure 1. 



four vises at each bench. A swivel vise that may be turned 
at any angle will be found satisfactory. 

An annealing tray made of a piece of sheet iron in the 
shape of a box about i8'' square and 3'' deep, with the corners 
lapped and riveted and filled with slag, answers very well, 
but one similar to the illustration, Figure i, is better. In 

13 



^f^^^ 





SAWDUST 




Figure 2. 



14 



AMVILS 




Plate 1. 



15 



this the top is circular and rotary, which is an advantage. 
A pair of light long nose-tongs are needed to handle the 
work. Any ordinary foot bellows and blow-pipe will do. 
A box, Figure 2, large enough to hold two 2 -gallon 
stone jars and about half a bushel of sawdust, is needed. 
One of the jars is for water in which the object is cooled 





Figure 4. 
Sand bag or engravers pad. 



Figure 3. 

after being annealed ; the other is for pickle which is used 
to clean the work. The sawdust is used to dry the object 
after it has been dipped in the water. 

Plate I illustrates forms of anvils that have been found 
most useful. 

Plate 2 shows a variety of hammers needed. 

Plate 3 shears and plyers. 

The following tools are also necessary: 

Cutting shears — straight and curved. 

Steel square 12". 

Jeweler's saw frame. Figure 3. 

Piercing saws. 

Breast drill and assortment of drills. 



16 




Plate 2. 



17 




Plate 3. 



i8 



^^ 



<^ 








^ 




> B 






f«C^ 



1^ 



f==^ 



J 




ff^ 



Figure 5. 
Chasing tools and punches for embossing. 



CSi 



\l 



VJ 




Figure 6. 
Engraving tools. 



fPr 



(I 



U 



\U 



M VI 



19 



Compasses. 

Calipers. 

Surface gauge. 

Surface plate. 

Assortment of files. 

Sand bag or engraver's pad. Figure 4. 

Pitch block. 

A set of chasing tools and punches. Figure 5. 




Figure 7. 

A set of engraving tools. Figure 6. 

A set of dapping tools and dapping die. Figure 7. 

Plyers — flat nose, round nose, and pointed. 

Cloth and felt buffs. 

Borax slate. 

Two 4-gallon stone crocks. 

Mortar and pestle (Porcelain.) 

Mouth blow-pipe. 

Bench pins. 



20 



MATERIALS. 

Copper is the material best suited for the work outlined 
in this book, although the processes as described may be 
applied to brass or silver. Brass may be used successfully 
in the fiat work, but for raised work copper is the best 
material for the beginner. 

Copper is obtainable in different thicknesses and in 
various grades but the best grade should be used. For 
most of the work from i8 to 24 gauge is used, while metal 
from 12 to 18 gauge is used occasionally. 

Copper wire is used in several sizes for making rivets. 

No. 22 and 28 iron wire is indispensable for binding 
when soldering. 

Easy running silver solder may be made by the user, 
but as a small piece will solder many joints, and as it is 
not practical to make it in small quantities, it is better to 
buy it ready made as desired. 

Powdered or lump borax is used as a flux in soldering. 
Charcoal or asbestos blocks are used when soldering small 
work. 

Cut-quick and rouge are used for polishing. 

Nitric and sulphuric acids are used to clean work. 

PICKLE. 
Pickle is a trade name given to solutions used in 
cleaning work. Different proportions of acids are used 
according to the work to be cleaned. For copper and 
silver a dilute bath of sulphuric acid is used of i part acid 
to 15 parts of water. The solution may be used cold but 
when used hot it becomes much more effective. When used 
hot a copper dish is necessary. The object being placed 
in the dish with enough pickle to cover it, it is then placed 
over a gas plate and allowed to come to boiling heat. The 
pickle is then poured off and the object rinsed in clean 
water. A dilute solution of nitric acid is used for brass. 

21 



GAUGE. 

Gauge, as referred to in this book, is a term used to 
denote the thickness of sheet metal. The Standard Wire 
Gauge is divided in guage numbers from 5 to 36; and is 
used for measuring the thickness of wire and sheet metal. 
It is usually a plate of steel having round its edge a series 
of notches of standard openings. 




22 



Chapter II. 
PROBLEMS. 



ESCUTCHEONS. 

Escutcheons may be made of any metal; but copper, 
brass, and iron are most used. The size and shape of the 
escutcheon are determmed by the size of the lock and the 
space at our disposal. The outline may be circular, square 




Figure 8. 

or rectangular, or it may be modified somewhat, care being 
taken to keep it in harmony with its surroundings. 

First make a careful drawing of the design. Take a 
piece of metal a little larger than the drawing calls for, and 
of the desired gauge, from 12 to 20 gauge is all right for 
such an exercise. The design is then transferred to the 
metal by the use of carbon paper, or a tracing is made on 
rice paper from the drawing and pasted on the metal. Then 

23 



E.SCUTCHL'TIS 




Plate 4. 



24 




Plate 5. 



25 



take a metal saw (No. 2 or 3) and saw about the design 
Figure 8, 8A. To saw the key whole, a hole must be drilled 
through which the saw can be placed to follow the line. 
Before drilling use a center punch, making a slight depression 
as a start for the drill. After the sawing is completed, a 




Figure 8 A. 

file is used to true up the outline and to smooth the edges. 
The holes for the nails are next drilled. After using a little 
emery paper about the edges, it is ready to finish. 

The metal, as it comes from the rolling mill, is perfectly 
smooth. If, in this piece of work, it is desired to make the 
surface a little more interesting, it may be done by taking 
any hammer with a smooth domed face and going over the 
surface. This, however, should be done before sawing. As 
the hammering stretches the metal somewhat, if it is left 
till after the sawing is done, it means more filing to get the 
design into shape. For a beginning this exercise has proved 
very satisfactory, as it gives the pupil an acquaintance with 
the metal and uses but a small piece of material. 

HINGE TAILS. 
These plates represent suggestive designs for hinges and 
maybe given among first exercises in sawing ; when so used, 
they should be treated like the escutcheon already described. 

26 




Plate 6. 



27 



MlhGE. TAILS 



® ®1 

n 



® Q Q 





fA^- 







r. ^ m 



LJlJ 



Plate 7. 



28 



MIMGE TAILS 










I.IM 



Plate 8. 






29 



Chapter III. 

DRAWER AND DOOR PULLS. 

Pulls generally consist of two parts, the handle and 
the plate to which the handle is fastened. Some pulls are 
stationary as in Figures 9, 10, while in others the handle 
swings from either one or two points, Figures 11, 12, 13. In 
this case the handle may be made by taking a rod as great 




Figure 9. 





Figure 11. 



Figure 10. 



in diameter as the thickest part of the handle, and either 
drawing it out by hammering or filing it down to the required 
taper. After it is tapered to the required size as at Figure 



30 



DRAW PULLS 









Plate 9. 



31 



DRAW PULLS 




Plate 10. 



32 



OQAW PULLS 




Plate 11. 



33 



M m 




[M IM 




m 



C— *-r-x.^^ 



® 




Plate 12. 



34 



14, it is then bent into shape according to the design. If 
the handle is to swing from one or two points, it should be 
fastened by any one of the following methods. 

Method I . If it is possible to have the handle support go 
through the drawer or door, the support may be made from a 





Figure 13. 



Figure 12. 



Figure 14. 



piece of square rod of the length desired, a hole being drilled 
through one end, the size needed, as at Figure 15, A. A 
shoulder is then made by filing the rod down to the size of the 
hole in the plate. In making the shoulder the remainder of 
the rod which is to go through the drawer front may be left 
square or filed round; as the hole is round that is drilled 
to receive it, this last is the better way. It is also easier to 



35 



fasten it on the inside of the drawer when it is made in this 
way, for it may be simply headed up as in making a rivet, 
Figure 15 B, or a thread may be cut and a nut used, Figure 
15 C, D. The latter method is better where taps and dies 
are at hand. When it is fastened by riveting, a circular or 







i 




Figure 15. 

square piece of metal called a washer. Figure 15 E, a little 
larger in diameter than the bolt, with a hole the size of the 
bolt, is placed next to the drawer front on the inside; this 
makes the riveting more secure. 

Method 2. Another method for fastening this style of 
a handle is to cut a slot through the plate about tV inch wide 
and length called for by the design. Figure 16 A. Then 
take a strip of copper in length 7 times the diameter of the 
handle end and as wide as the slot in the plate is long. 
Figure 16 B. This is then bent circular a little larger in 
diameter than the end of handle as at Figure 16 C, and 
placed in the slot as at Figure 16 D, and clinched on the back 



36 



of the plate as at Figure i6 E. The plate is in this case 
fastened to the drawer or door by nailing or riveting. 

Method 3. When it is desirable to make the plate and 
handle support all in one piece, it may be done in any one of 
three ways. First. By allowing enough metal in the center 








Figure 16. 



of the plate to form the handle support as at Figure 12. 
Second. By allowing metal at the top of the plate to bend 
over handle as at Figure 11. Third. By allowing metal at 
the sides to be turned up at right angles to the plate to form 



37 



the support as at Figure 13. In this case holes are drilled in 
the side pieces and a rivet is put through from one side to 
the other to hold the handle. For this one the handle must 
be either bent around the rivet or drilled to receive the rivet. 
In all three of these cases the plate is fastened to the door 
or drawer by nailing or riveting. 

HINGES. 

Plate 13, Various outlines of the same hinge. 

Plate 14, Hinges of sameoutline with interior variations. 

Plates 15, 16, 17, Butt and Strap Hinges. 

In a hinge, the joint is the important feature. The 
size of the hinge, the strength required, and the decoration 
niust also receive attention. After these have been deter- 
mined, a drawing should be'made giving a development of the 
joint. Whatever the size of the hinge, the following princi- 
ple in regard to the joint must be kept in mind. There 
must be alternating projections left on the inner ends of 
each leaf of the hinge to fit into one another so that the 
pin may pass through them and allow the hinge to swing. 
The method of making these projections is determined by the 
size of the hinge. 

In hinges of any considerable size, the projections are 
left attached to the hinge proper ; in allowing for them there 
will be an even number on one leaf and an odd number on 
the other. To obtain the strength desired, the width of the 
projections on one leaf should equal the width of the 
projections on the other leaf. This applies to any number 
of projections. Their length should be determined by the 
diameter of the joint, three times the diameter is the 
approximate length. 

In making small hinges the projections may be bent 
into position by the use of the round nose plyers. In 
larger work the projection is fastened in the vise and 

38 



beginning at the end is bent around the pin a little at a 
time using the raw-hide mallet to work it into shape. 

For small joints or hinges, such as would be used on a 
match box, stamp box, bon-bon box, or ink pot, the joint 
should be made of small tubing as described on page loo. 
This tubing is sawed into the required lengths and soldered 
to the leaves to be hinged. The parts to receive the joint 
are sometimes filed out. 



39 



hlNGE.S 



G O 
O O 
O O 




o o 
o o 
o o 





w 



r\ 





^^X^ 



o o 



o o 



c o 



o o 





^ ^ / o o - o oV 



t.lM. 



Plate 13. 



40 



HINGES 










Vl 










Plate 14. 



41 




Plate 15. 



42 



hlMGElS 




Plate 16. 



43 




Plate 17. 



44 



Chapter IV. 

FINGER PLATES. 

The finger plate used on the edge of a door to receive 
the wear of the hand serves as an excellent exercise in 
sawing and filing. The design is transferred to the metal 
by use of carbon paper. The sawing is done as in the 
escutcheon. The surface may be left smooth or it may 
be gone over with a hammer having a face somewhat 
rounded. If the design calls for any repousse work, it is 
done as described on page 64. 




45 



riMGER PLATE. 




Plate 1{ 



46 




Plate 19. 



47 



PAD CORNERS. 

Desk pad corners while not difficult to make, are very 
useful as well as ornamental. The design may be carried 
out in any one of three ways : pierced, embossed or enameled. 

In making the pattern for the pad corner, an allowance 
must be made for the thickness of the pad, as at A, and also 
for laps as at B, that are to go under the pad to hold the 
corners in place. The corner may be riveted to the pad at 
the back or the laps may be bent in such a way as to clamp 
them to the pad, and permit of their removal at any time. 

When the design has been pierced or embossed, the 
laps can be bent over a piece of metal equal in thickness 
to that of the pad. If the design is to be carried out in 
enamel, all bending must be done before enameling as any 
expansion or contraction of the metal will crack the enamel. 



48 




Plate 20. 



49 



BOX CORNERS. 

Box corners serve primarily to protect the corners of the 
box and to increase its strength, but they can be so made 
that they give character to the box. The comer should be 
designed to suit the particular box or chest to which it is to 
be applied. The method of making a box corner is slightly 
different from those previously described. After the design 
has been drawn, a pattern made from it in heavy paper 
will be found helpful, for this pattern may be used to mark 
out the design on the metal. In this way irregularities in 
the design are less likely to occur than when the design is 
transferred with the carbon paper directly to the metal. 
The decoration may be pierced or embossed, according 
to one's choice. After the sawing or embossing has been 
done, it should be filed carefully and smoothed up with fine 
emery cloth to do away with crude and sharp edges. 

The holes for the rivets are then drilled and the burr 
that is made by drilling is removed with a larger drill. The 
two edges, A A. Plate 21, that are to come together when in 
place on the box should be beveled a little so that they will 
form a better corner. After this is done, the sides are bent 
down over a block of wood or metal placed in the vise. 
A rawhide hammer should be used to avoid marks on the 
face of the corner. In this as in other work, if it is desired 
that the metal have a hammered surface, the effect must 
be given before the design is cut out. 

Suitable rivets are next made as described on page 98 
and illustrated on page 99. After being colored or polished 
the corner is ready to be applied to the box. 



50 



^ 



B^X 0»ftMEftS 





o o 
o 


V 


O oJ 






10 

/ O 


o 



Plate 21, 



51 



B°X CORMERS 







:r— i: 

o o 


o o 
o o 


o o 
e o 






® 



Plate 22. 



52 



STAMP BOXES. 

Stamp boxes may be made in various ways, three of 
which are described below: 

Box No. I and 2, Plate 23. 

On a piece of 20 gauge metal, lay out or draw the pattern 
as shown on the plate ; first with pencil, then with a scratch 
awl to insure permanency, going over the lines lightly on 




Figure 18. 

the metal. By the use of a saw frame and a No. 3 saw the 
corners of the square are cut out. 

The edges that form the comers are next filed up, 
keeping all edges straight and at right angles; after this, 
the edges are beveled a little, forming a mitre which, 
when soldered, makes a better joint than otherwise. 

The sides are next bent up over an iron block placed in 
the vise as at Figure 18. The corners should be brought 
well together, using a rawhide hammer. No. i, Plate 2. 

A piece of iron wire about No. 24 is then placed around 
the box and twisted tight enough to hold the comers in 

53 



STAMP BOX 



Q 

QJ|D 

□ UTqii 




BOX N®l. 



DESIGM o IS C«VER. 
E.MB«SSeD. 



OD ODO 00 

O a 

D O 

DO aoa GO 



B *» X. rH • *:^-. 



» 1, 






PATTER ri F«»R 
BOX N«»l. 









PATTERN F»R 
0>veR. OF 

r«*» I. 



OEPRESSION MADE BY 
PLACir<t& OH PITCH AND 
USING TOOL SHAPE *F 
UNIT. DEPRESSION 
FIULBD WITH e.NAM&l.. 



IDO 
lO 



DDD DD 

^ D 



O D 

DD aOO DD 



I 



<° ° 



DO 



°t 



1. IM. 





D 
D 


DOO 
DDD 


a 

O 




D 
D 


a 

D 







(® 



Plate 23. 



54 



place while being soldered, Figure 19. Borax and solder 
are next applied and the soldering done as described on page 
63. In this case, however, all of the corners should be 
prepared at the same time for soldering. If but one corner 
is prepared and soldered, the heat necessary for soldering 
causes the copper oxides to come to the surface at the other 
corners which must be removed before they can be soldered. 
This is remedied by coating with borax and placing the solder 
at all corners before applying any heat. 





Figure 19. 



Figure 20. 



After the soldering is done the box is pickled. Surplus 
solder is next removed by filing. The box is again placed 
over the iron block which is held in the vise; the comers 
and bottom edges are squared up, using the round end of 
hammer shown at No. 2, Plate 2, and the top is filed off 
level. This completes the body part of the box. 

The cover is made in the same way as the box. Much 
care must be taken to have the pattern carefully and 
accurately drawn so that when the cover is finished it will 
fit closely to the body. The design, if there is any, whether 
it is embossed or enamelled, must be carried out before 
cutting it to size. 

Box No. 2, although of different proportion, is made 
in the same way as No. i. 

Box No. 3, Plate 24. 

Take a strip of metal as wide as the required depth 
of the box and as long as the sum of the four sides. The 
length of each side is measured off on this strip and a line 



55 



PAXTERH 
or B»TT»M 



SHOULD BC MADB. 
A UTTLE LAAOen. 
TMAtt B»OY OF 
ftox TO ALL«V/ 
FmiSMItiG 



STAMP B<»X 





COT OOT WITH 

cnoRAvcas "r«<»i. 

THEN ENAMELED 



B^X IS03. 



STtLtP »«»L.OeREO •« C-VEH, «»F 0"n 



r 




"1 


THIS V^/MEN 


BE.nT AT RIOHT angles oim t»»TTEO 
LINES F«»RMS B«»OY «*F B*»X 




I 
1 
t 


1 1 
1 1 
I 1 

1 1 





HINOCD COvtft 



G 


9 E 


9 








(bJ |V) 



I 




I ~ I 




If ATT E « N 
F«a SUIDE &H<*\A/r« 
AT C IM &ECTI*r<« 



STRIP S*LOERED 
T« StOE «»F B«» X 
M<*l.OIN<a SUIOE. 
IIS PUACE. A& 
SHOvvri <^T O 
• r« S EtTi«»* 



cSD 



Plate 24. 



56 



STAMP B«»X 
COVtb OESIGMS 




^<n 



Im 



^ 



m 









^1 






C^ 







Plate 25. 



57 



scratched at right angles to the edge. The strip is then 
placed over a block of metal and, with a rawhide hammer 
bent at right angles at scratched lines, making three 
corners, leaving the ends to meet at the fourth corner where 
they are to be soldered. These ends should be mitered as in 
Box I, before soldering. After the corner has been soldered 
and the box pickled, it is again placed over a block and trued 
up square. Having decided which is to be the top and 
which the bottom of the box, file the bottom edges level and 
at right angles to the sides. A piece of metal is then cut 
for the bottom large enough to allow about tV to project 
on all four sides. 

It is then prepared for soldering and bound together 
with iron wire. Figure 20. The solder should be cut in 
small pieces and placed about the inside edges. In soldering 
the bottom, care must be taken not to unsolder the corner. 
This may be avoided by keeping the flame away from the 
soldered corner until the rest of the solder has run, applying 
it to the corner at the last and only for a fraction of a 
minute. 

After the soldering, the box is pickled and the edges of 
the bottom filed square. The jt" that was allowed to project 
may be filed flush with the sides of the box or left to 
project a little. 

The cover is made by taking a strip of metal about t\" 
wide and long enough to fit around the inside of the box. 
The length of the sides (inside measurement) is laid out 
and then bent over a block as previously described. The 
corner is soldered and the upper edges are filed off level 
and soldered to a piece of metal, forming the top. This 
strip on the inside keeps the cover in place. If the design 
on the cover is to be carried out in enamel it should be 
done after the cover is completed. If the design is to be 
embossed, it should be done before the strip which holds 
the cover in place is soldered on. 

58 









?i.'C«X"^' 









Plate 26. 



59 



Box No. 4, Plate 24. 

The body of this box may be made like either No. i 
or No. 3. An addition is shown on this one which allows 
the stamp to be taken from the box more easily. A strip 
of 20 gauge metal yV" wide is soldered on the inside next 
to the top edge extending from one end to the other as 
shown in the section at D. Another piece of the same gauge 
metal is cut, in length equal to the inside length of the box 
and about |" wider than the box. This is placed inside 
the box and sprung into place as shown at C in the section. 
This device may be applied to either of the other boxes. 

The cover of this box is made of but one piece and 
hinged with a strap hinge, which also forms the cover 
decoration. 

To give the surface of the metal of this box a bold 
hammered surface adds much to its attractiveness. 

MATCH BOX. 

The Match Box may be made in the same way as the 
Stamp Box with the exception of the cover. It seems better 
to have the cover of the match box hinged. The hinge 
may be made so as to form a part of the decoration of the 
cover by making it a strap hinge as shown at Plates 15, 16, 
17. The hinge may also be made of tubing and extend 
across the back of the box. This method leaves the cover 
to be decorated in some other way, either by embossing or 
by enameling or by both. 




60 



MATCH BOX 



fsx:s;::=:^:x:i=x=^:::::^^ 






aoG 



y) 

n) 



t. - — — J 






S) 



pspcn 



=9 






^ "•" — -■ 



3 e 



'- -^ 



\ 



Plate 27. 



6i 



MATCH B<»X 
0>VEft DESIGNS 




Try 




-»^-» 






Plate 28. 



62 



Chapter V. 

SCONCE A. 

The pattern for this sconce as shown at Plate 29A is 
transferred to the metal which is then cut out. The part 
which serves as a reflector is raised by placing the metal face 
down on a sand bag, or on pitch and with the pein end of a 
chaser's hammer or with a pointed horn hammer, driving the 
center down to the required depth. If the face is somewhat 
irregular, it can be trued up by placing it on a block of 
wood and going over it with a rawhide hammer. 

The shelf on which the candle socket rests is formed 
by bending the lower part of the sconce at right angles as 
shown by the dotted line. The projections at 2,3, 4, Plate 
2 9 A, when bent into shape as shown on Plate 29 form the 
supports for the candle socket. The projection at 5 Plate 
29A when bent into shape serves as a bracket to support the 
shelf. The candle socket is made from a strip of metal bent 
into cylindrical shape with the ends riveted together. When 
the socket has been riveted and holes drilled as indicated, the 
sconce is finished according to taste and mounted on a back 
of wood stained to harmonize with the color of the metal. 




63 




Plate 29. 



64 



SC^MCE A. 



7 




PATTER r* 
F«R SC«MCE, A 
• © ®tl ZO €.AU6E. METAU. 



*>i& REFLECTOR RAIS&O 
ON PITCH oRSAflO BA&. 



BENT AX 

I^IGHT Art&LES 

ON rmS LINE 




PAXTBRN 

FOR 

CANDLE SOCKET. 



'^>^9^>*^' 



SECTION ON 7^^. 



(S!> 



Plate 29 A. 



65 




- Plate 30. 

66 



SCONCE B. 

A rectangular piece of metal is cut out about h inch 
larger on all sides than the design calls for and given a 
hammered surface with the pein end of a large hammer. 
After the design has been transferred to the back of the 
metal, it is then placed on pitch face down, and with a 
suitable tool the lines are sunk at A and B, Plate 31, about 
tV", as shown in the section at C. It is then removed 
from the pitch and, after cleaning, is put over a sand bag 
face up, and with a rawhide hammer, the part that is to 
serve as a reflector is concaved a little. 

The candle socket is made like the pattern as shown at 
D. It is bent cylindrical in shape and the ends are riveted 
together, then the laps on either side are bent nearly at right 
angles and serve to hold the socket in place. The cup is 
made from a circular piece of metal hammered into a slightly 
conical shape, E. A rod the length required is bent at right 
angles with a shoulder left at each end. The bracket is 
made next like the pattern F and bent into shape as at G. 

When all the parts are finished, they are put together. 
Place the rod in a vise with the short end up. The cup is 
put over the pin at H, and also the socket, so that the pin 
passes through the holes in both laps. The pin is then 
headed up, holding all securely in place. The bracket is 
next riveted to the back at K, through which the rod is put, 
the pin passing through the back is headed up at L. After 
finishing, the sconce may be mounted on a wood back. 




67 



SC^MCE B. 



PATTERN r«»R. 

BRACKET 



aEC.TI«»H OM I.J. 





fl 



PATTaRN P»tt 
a»CKtT 



^ 





^ 



S. 




Plate 31. 



(D 



68 



PICTURE FRAME. 

This object is made as follows : Take a piece of metal 
quite a little larger than the outline of the frame that is 
to be made. Draw on this piece of metal the outline of the 
frame and also the extensions which are folded back to give 
the thickness necessary for the reception of the picture, 
glass, and back, as shown at B. Have the side opposite to 
that on which the drawing is done free from scratches as it is 
to serve later as the front. Any decoration that is used 
must be of the simplest sort. This decoration may be pierced 
or in repousse. The frame here illustrated and the plate of 
designs were intended for repousse as more satisfactory 
results have been obtained by this process. After the 
design for the decoration of the front of the frame has been 
transferred to the same side of the metal as the outline, 
it must be prepared for the repousse process. This is done 
by placing it on a pitch pot. The pitch is softened enough 
so that the metal will stick to it. After placing the metal on 
the pitch, work a little of the pitch over the edges as this 
will hold it more securely. It is then allowed to cool or 
harden before working. With a suitable tool and hammer, 
after the pitch is hard, follow the lines which make up the 
design or decorative part of the frame. The lines should be 
gone over lightly, slowly, and carefully at first until the 
design is fairly well started ; then they may be gone over 
again, sinking them a little deeper each time until they 
have been carried deep enough to give the design the required 
relief on the face of the frame. For this part of the 
work the tool should not be used as a punch, driving the 
metal down in one place and then moving it to another and 
so on, but it should be kept moving all the time and should 
at the same time receive a repeated number of light blows 
from the hammer. By so doing the face of the work will 
be smooth, otherwise each blow from the hammer will show. 

69 



PICTURE. FRAME 







^czi^czn: 



=3 



V 



/ 



2CZX 



5^ 






/ 



I.I i»i. 



Plate 32. 



Ezr 




70 



If there is doubt as to the depth to which the lines should 
be carried, the work may be taken off the pitch occasionally, 
so that the face may be seen. It is not an easy thing to 
reduce relief in this work, therefore it is better to go carefully 
working it up slowly. After the repousse part of the frame 
is done, clean it with kerosene and pickle. 

The corners may then be cut out as at B, filed up 
square, and beveled as in the box. The sides are then 
bent back over a block of wood or metal, bringing the 
corners well together. They are then soldered. A metal 
saw is used to make the opening. A, the edges of which 
are then filed up square. 

The back for this frame is made in the same way as 
the front except that it is left perfectly plain. This should 
be made to fit inside of the frame tight enough so that no 
fastening will be needed to hold it in place. 

A frame of this size and kind may be made to hang or 
to stand. If it is to hang, a small ring may be made and 
fastened to the back as shown at C. If it is to stand, a 
support of some kind such as is shown at D is needed. This 
is made of the same thickness metal as the frame and may 
be made in many outlines. This support may be made sta- 
tionary by riveting it to the back, or hinged, which is much 
better, as is shown at E and F. The hinge is made by 
taking a piece of about J'' tubing and cutting three pieces, 
making one of the pieces equal in width to the other two and 
having the three equal in width to the top of the support. 
The two short pieces are soldered to the back and the long 
piece to the support. A piece of wire equal in diameter to 
the hole in the tube is then cut and put in place which 
hinges the back and support together. 

The method of making the tubing used for the above 
is described on page loo. 



71 




Plate 33. 



72 



SOLDERING. 

A piece of silver solder, a slate slab such as is ordinarily 
used for grinding ink, powdered or lump borax, and a soft 
hair brush of some sort are all that is necessary for the 
process of soldering in addition to what we already have. 

The pieces of metal that are to be soldered must be 
absolutely free from all foreign matter. To insure this the 
joint is scraped bright with some sharpe-edged tool. Care 
must be taken to keep the fingers away from the joint as 
any moisture or greasy substance will prevent the solder 
from running. The best results are obtained only by being 
extremely careful as to cleanliness throughout the process. 
Being sure that the slab is perfectly clean, a little water is 
put in it and the lump of borax is ground around until the 
water becomes like thin cream. If powdered borax is 
used a block of wood will answer as a pestle to grind the 
borax to the right consistency. 

The solder may be obtained any gauge, but about 20 
answers for most purposes. After cutting the solder into 
pieces about tV of an inch long and about the same width, 
drop them into the borax that has been ground to give them 
a coating of borax and to remove any grease that may have 
adhered to them. Coat the surfaces that are to be soldered 
with the borax being careful to get no more borax about 
than is necessary. Put the parts together and bind them 
with No. 24 iron wire, not too tightly. The pieces of solder 
are then lifted with the brush used for the borax or with a 
pair of tweezers and placed next to the edge that is to be 
soldered, about one inch apart. The object is then placed 
on the annealing tray, which answers for soldering as well, 
and with the blow-pipe it is heated, very slowly at first until 
the water has evaporated and the borax crystallized and 
dissolved, the flame may then be applied more directly and 
the object brought to a soldering heat. If the heat is applied 

73 



too quickly, it will throw off the solder; and if heated 
hotter than necessary it is liable to melt or burn the parts 
being soldered, so the process demands the closest attention 
from the start. 

The object is then pickled, washed in clear water and 
dried in the sawdust. 

If the above directions are carefully followed good 
results may be expected. 

REPOUSSE OR EMBOSSING. 

Repousse or embossing involves practically the same 
principle as modeling in clay or wax, the only difference 
being that metal is used as the material and that different 
tools are employed. In this, as in clay or wax work, it is 
desirable to bring certain parts of a design into relief ; to do 
this with metal the work must be placed on a substance 
which will give some resistance and yet allow each blow 
of the hammer or tool to make an impression. The sub- 
stance commonly used for this purpose has the following 
composition, in the proportions given; 

Black pitch i lb. 

Tallow 3 teaspoonfuls. 

Plaster of Paris § cup. 

The pitch is put in some kind of dish (agate is good), 
placed dver a gas plate, and melted. The tallow is then 
added and the plaster sprinkled and stirred in, the whole 
being well mixed. It is then poured into the pitch pot, or 
whatever it is to be used in. When used in hot weather 
more plaster must be used. A pot, hemispherical in shape. 
Figure 2 1 , made of cast iron about h inch thick is generally 
used. This, when placed on a chaser's pad or ring. Figure 21 , 
may be turned at any angle, and is found to be a great 
convenience. An ordinary 7'' x 12'' baking pan of iron 

74 



serves the purpose, or a box may be made of wood, but 
of course this is not so durable. 

After allowing the composition to cool partly, yet 
while soft enough to stick, the piece of work that is to be 
embossed is placed on it, the right side next to the pitch. 
It is then allowed to cool still more; when quite hard or 
when it is difficult to make an impression on it with the 
thumb nail, it is ready to work on. The design is next 
drawn or transferred to the metal by the use of carbon paper 
and then scratched on with a scratch awl to make the 
drawing more permanent, as in going over the piece of 
work the pencil or carbon lines are easily erased. 

The tools necessary for this work may be made as 
needed according to each individual design. There are a 
few general ones that are always found useful, such as 
those shown at Figure 5. Figure 22 shows a hammer 
generally used for this work. 




75 




Figure 21. 




Figure 22. 



76 



Chapter VI. 

RAISED FORMS. 

The first exercise in raising should be a form quite 
simple in outline, Plate 34 A. A drawing or blue print 
should be used showing the shape and dimensions and this 
should be worked to as closely as possible. Next select a 
piece of copper suitable in thickness for an object of this 
size, in this case 20 gauge. The metal for raising must be 
circular in shape and the diameter of the piece needed for 
this bowl determined in the following way : 

Take a piece of string, place it on the drawing or blue 
print, starting in the center of the base, and follow the 
curve as indicated at A, on Plate 34. This will give the 
radius needed for describing the circle, which is 5^''. The 
circle is then cut out with the shears, after which another 
circle is described on the metal for the base. All lines 
made on the metal should be made quite lightly. 

As a rule the copper comes from the rolling mill some- 
what hardened so the next thing to do is to soften it by a 
process called annealing. 

Place upon the annealing tray, Figure i, the circular 
piece of metal already cut, and apply the flame from the 
blow-pipe upon it until it becomes red hot. It is either 
allowed to cool off gradually or dipped in cold water and 
then dried in the sawdust. 

Select an anvil the shape of which conforms somewhat 
to the outline of the bowl and also to the curve of the base. 
It is often necessary to use several anvils to complete an 
object, but a little experience will help to decide which 
should be used first. The No. i anvil on Plate i seems to 
be about what is needed for this particular piece of work. 

The anvil is placed in the vise and the metal held in 
the left hand against the anvil so that the end of the anvil 

77 



RAISED F<»aMS 



^ '' 



V 




3 



7 



Pi ATE 34. 

78 




Figure 23. 



comes directly under the circle which represents the base, 
as shown at Figure 23. With a raising hammer, No. 3 on 




Figure 24. 



Plate 2, begin hammering with light blows at first, following 
the circle closely the first time around until the base is well 

79 



started. This operation is continued at each turn striking 
a little above the previous blows until the top is reached 
when it will take the shape as shown at Figure 24. Some- 
times a horn or box-wood mallet is used to start a piece 
of work. As the hammering hardens the metal it is 
necessary to anneal it each time after going over the 
surface. After this is done, we proceed as at first until 
the required form is obtained as called for by the drawing. 

Care must be taken not to stretch the metal any more 
than can be helped as the more it is stretched the thinner 
it becomes. 

The surface and outline of the bowl left by the raising 
hammer is quite irregular and needs to be trued up by a 
process called planishing; for this a No. 2 or 4 hammer, Plate 
2, with a polished face and somewhat broader than the 
raising hammer is used. By going over the surface with 
this hammer all irregularities are removed leaving a refined 
curve and a finished surface. 

If the bottom gets a little out of shape during the opera- 
tion of raising, it can be easily brought back again by using 
a No. 2 stake, Plate i, and a No. 5 hammer, Plate 2. 

During the raising process the top edge has also become 
very irregular and must now be trimmed off level. Place 
the bowl on some level surface (a surface plate will give 
the best results) and with the point in the surface gauge 
describe a line about the top making it the desired height. 
Figure 25. A small pair of shears is then used to trim off 
the top to the line, after which a file is used to finish the 
edge, leaving it perfectly smooth. A piece of fine emery 
cloth may be used at the last. 

The principle of raising as here described applies to 
forms of all sorts with few variations. Where a form is to 
be raised with the top edge turned in as at B, Plate 34, an 
anvil similar to the outline must be used. In raising a 
form like C, Plate 34, the sides are carried up as shown by 

80 







Plate 35. 

8i 



the dotted lines and then the form is reversed and the 
neck part drawn in. A deep form is raised more quickly 
if, at the start, the metal is placed on a crinkling block 
and the edge crinkled. 



Figure 25. 

In all raised work after one becomes acquainted with 
the material, it will be found that the metal can be forced 
in any direction, giving thickness at the bottom, at the sides, 
or at the rim, as is necessary. 

After raising a form like C, Plate 34, it may be desired 
to increase the diameter a little at 0-0, where an anvil 

82 




Plate 36. 



83 



cannot be used; or, if the form is satisfactory it may be 
necessary to raise certain parts of it to carry out the decora- 
tion called for by the design. This is done by the use of 
the snarling-iron, made as illustrated at Figure 26, which 
shows the general outline only, as the ends vary in form 



( 



J? 



Figure 26. 

according to the work they are to do. One arm of the iron 
is held in the vise as at Figure 27. The form is then placed 
over the end and held with the left hand while, with a 
hammer in the right hand, the iron is struck quite near 
the end in the vise which causes the other end to rebound. 
This serves the same purpose as a direct blow from a ham- 
mer, except that it works much more slowly. 




84 




Figure 27. 




85 




Plate 37. 

86 




Plate' 38. 



87 



Chapter VII. 

PORRINGER. 

The making of a porringer serves as a very interesting 
exercise ; and it is so simple in form that it can be raised after 
very little experience. A suitable handle must also be 
designed, sawed out and soldered to the body. 

After the bowl has been raised into shape according to 
the design, the top is cut and filed off level. When the 
handle has been sawed out and the edges trued up, it is 
fitted to the bowl part. Mark on the edge of the bowl the 
place v/here the handle is to be fitted and fit it at that 




Figure 28. 

place. The edge of the bowl where the handle is to be 
soldered should be filed or scraped bright before the solder- 
ing process is begun. 

Invert bowl and handle and lay them upon a level block 
of charcoal, as shown at Figure 28. Four or five wire nails 
or pieces of iron wire forced into the charcoal keep the 
handle and bowl together. The borax is applied and suffi- 
cient solder to make a good joint. Use no more solder 

88 




Plate 40. 



90 



than is necessary, as it will have to be removed by filing 
and the less filing that is done about such a joint the better 
the work will be. After the exercise has cooled, it may be 
pickled, washed and dried. 

While the heat is being applied for soldering, the bowl 
is at the same time annealed and becomes so soft that it 
is easily bent out of shape. The bowl of course must be 
hardened again; this is done by placing it on an anvil 
that conforms to the outline of the bowl and hammered 
lightly over the surface. The handle is also treated in the 
same way. 

Any necessary filing or finishing is now done and the 
porringer is ready to be polished. 

If we choose, the handle may be riveted on, or it may 
be made of the same piece as the bowl by allowing enough 
metal where the handle is to be, to be bent back when the 
bowl is raised into shape. 




u 



91 





w^mmKM^M^.. 





Plate 41. 



92 



TRAYS OR PLATES. 

Trays or plates may be made by working the bowl part 
over an anvil or by driving it into a sand bag until the 
required depth is obtained, or a form may be turned out of 
a block of wood and the metal driven into it. After the 
bowl part has been shaped it may be placed on the pitch 
block and the outline trued up with a chasing tool. The 
edge of the tray or plate may be decorated either by 
piercing, embossing, etching, or enameling. 




^ 



7 



\^ 



y 




93 



Chapter VIII. 

INK POT. 

This exercise is carried out as follows : A form is first 
raised like the lower part of the pot inverted, which is 
nothing more than a bowl so far. A hole with a diameter 
a little less than the diameter of the ink well is then sawed 
with a piercing saw in the bottom of this bowl, as at A. 
After this a circular piece of metal is cut equal in diameter 
to the top of this bowl plus \ of an inch, and soldered on 
G. By making this piece j inch greater than the diameter 




Figure 29. Dapping tools in use. 

of the bowl, the soldering process becomes much easier. 
After the soldering is finished, the projecting edges may be 
filed off to the edge of the bowl. The bowl is then inverted 
so that it rests on its greatest diameter H, and it becomes 
an ink pot. 

The cover, J, is made by taking a circular piece of metal 
and raising the sides in the same way as in the bowl except 
that the design calls for the sides at right angles to the 

94 



IMK POT 



Tc*« or THCae aouoeaco -roetTMEO 

FORM KNOB ON COVCR 



L^ 







Pino 

^OUOERCO ON TO 
BASE TO HOLD CVEQ 

iri PLACE 




iriK WELL MAY 
SE. OF &I.ASS OR. 
viETPkU, 

& 



STR«e ^<»(« Ririe 



C. 






BOWL CAiseo. 

HOLE CUT IN BOTTOM 
WHEN REVERSED PORMS 6AS6. 
OF POT 




Plate 42. 



95 




Plate 43. 



96 



base. The curve is obtained by placing it on a sand bag 
and driving it out from the inside to the required height. 
From a strip of copper 20 gauge and 1-6- inch wide, C, 
make a ring, D, equal in diameter to the inside of the 
cover. Solder the ends of the ring together and, after shap- 
ing it over a circular stake, fit and solder it to the base, as 
shown in the section at E. 

This keeps the cover in place. The knob, K, on the 
cover is made of two hemispheres, L, by use of the dapping 
block and tools. Figures 7 and 29. The two pieces are soldered 
together, filed or finished about the joint, and soldered to 
the cover, F. After dipping the different parts in the pickle, 
then washing them in clean water, and doing a little filing 
here and there about the joints to remove surplus solder, 
the ink pot is ready for finishing. This may be done by 
polishing, bronzing, or oxidizing. 

The ink well proper should be made so that it may be 
removed. It should be of glass or some other material 
easily cleansed. 




97 



irsK P^T 








® 



Plate 44. 



98 



SEALING WAX SET. 

THE WAX POT. 
The wax pot is raised into shape as described in 
Chapter VI on raised forms. Instead of cutting the top off 
level, a nose is formed as shown at A, Plate 45, which will 
pour well. A handle is designed, sawed out, and riveted 
on at the position indicated at B. 

THE LAMP. 
The body of the lamp is made by raising a bowl to 
conform with the design ; after cutting a hole in the bottom 
it is inverted, C, and the bottom is soldered on at D. A 
shallow cup is raised, E, a hole cut in the bottom to allow 
for the lamp proper, and soldered to the body. Legs as 
shown at F, and held together by a strip, H, are riveted to 
the side of the body at G; on these the wax pot rests. The 
lamp proper or alcohol well, which is filled with asbestos, is 
raised with the edges turned out, as at N, which hold it in 
place as shown in the section at J. The part at K serves as 
a burner and is placed loosely in the cup,E, allowing its 
removal at any time. 

SEAL. 
A monogram, letter or design of some sort must first 
be decided on. When this has been done, the design is 
transferred and scratched on a piece of 22 or 24 gauge 
copper. If the design has a right and wrong to it, the 
reverse should be transferred to the metal so that, when 
stamped, the right side will appear. The copper is then 
placed on the pitch and when cool enough to work upon, 
the lines are followed with a chasing tool, sinking them to 
the required depth. Care must be taken to avoid sharp 
edges or any undercutting, if the seal is to free itself easily 
from the wax. A handle for the seal may be "made of wood 
as shown on the plate ; the seal is cut and attached as shown 
at Section on L. M. 

99 



SEALIhG WAX 5tT 



WAX POT 



WAX P«T HAIHOLE. 




PATTERN I I 





PATTBRN •f 
LAMP UE.<b 



n 



<cA<> 



OIL v/et-c 

COvE.lt 




OIL. WELL 




D> 



Plate 45. 



100 




WATCH FOB. 

There are many ways of making watch fobs. 
A very simple one is made as follows: First 
make a drawing of the fob with some suitable 
pendant as at A, Plate 46. The pendant design 
is next transferred to a piece of 12 gauge copper, 
then sawed out and filed into shape. This must 
be done with perhaps more care than on larger 
work as it is to be more closely scrutinized. 
The parts of the fob must be made to conform 
with the width of the ribbon that is to be used. 
A bar must be made for the top, wide enough 
for the ribbon to be passed through and fast- 
ened. This bar is made by cutting a slot in 
a piece of metal of the same gauge as the 
pendant, or by bending a piece of wire around a piece 
of metal about re- of an inch thick and the width of 
the ribbon, making the ends meet in the centre of one of 
the long sides. If more than one of these pieces is needed, 
the wire is wound around the metal as many times as there 
are pieces required and sawed apart. The ends are then bent 
to come in line with each other and soldered. The piece is 
again placed over the metal and, with a rawhide hammer, 
worked into shape. The links that connect the bar and the 
swivel are made as all links are made. Take a piece of 
iron or steel wire the size required and also a piece of copper ; 
place one end of the steel wire and one end of the copper 
wire in a vise so that the steel wire stands vertical. Then 
wind the copper wire around the steel wire spirally with as 
many turns as there are links required. Now take it out of 
the vise and slip it off the steel wire, which leaves it in the 
shape of a spring. Hold it with the thumb and forefinger 
of the left hand and, resting it against the bench pin, saw 
the links off with a fine saw one at a time until there are as 
many as needed. 

lOI 



WATCH F*»BS 





w «i> 



Q LiK':";-j o 



m 



Q 






I.I IM. 



Plate 46. 
102 





® 




Plate 47. 
103 




One of these links is soldered to the bar that 

holds the ribbon and one to the top of the pendant ; 

the others are linked together to form the short 

chain at the top. To connect the pendant to the 

ribbon, two larger links are needed which are made 

in the same way as the small ones. All the links 

may be soldered or not. The links that are 

soldered to the bar and to the pendant should be 

filed fiat a little to make the point of contact 

greater. This insures a more secure joint. When 

soldering such small pieces the charcoal block 

is indispensable, for depressions are easily made 

in it where necessary. The parts are placed on the block 

in position and a small mouth blow-pipe is used ; with this 

the flame can be more delicately applied. 

When the different parts are completed, 
they are pickled, rinsed, dried, and polished, and 
then put together with the ribbon. 

Fobs are sometimes made entirely of metal 
as B, Plate 46. In this slots are sawed in three 
or more bars of metal which are linked together 
with links made from the same thickness metal 
as the bars. The pendant and the swivel are 
also connected with the same kind of links. 





104 



Chapter IX. 

SPOONS, SUGAR TONGS AND TEA 

SCOOPS. 

These exercises are easily carried out after a little 
experience. No steps are taken that have not already been 
described, except in the case of forming the bowl of the spoon. 
This is done by taking a piece of lead and making a depres- 
sion in it the size and shape of the bowl required. A piece 
of hard wood is shaped on the end grain to fit the depression 
made in the lead. The metal is placed over the depression 
and the wood shape placed on top of the metal; it is then 
driven into the form by using a hammer. This will give 
the general shape of the bowl which may be trued up later 
by sawing and filing. 




105 




Plate 48. 



io6 



SUGAR T^MGS 
TEA SC<»«*PS 




Plate 49. 



107 



RIVETS. 

The making of rivets is quite important as it is impos- 
sible to find in the market the variety in size and shape of 
head that each piece of work demands. Where rivets with 
a wire J'' or less are needed, they may be made as follows : 
Take a piece of iron or steel A, Plate 50, thicker than the 
desired length of the rivet and drill a hole through it having 
its diameter a little greater than the wire of the rivet. Take 
a piece of copper wire of the required diameter and 
about i" longer than the thickness of the iron. Place the 
wire in the hole and the iron on some smooth metal surface, 
B. With a hammer make a burr of the wire that projects 
above the iron. Then reverse the iron and drive out the 
rivets. This gives what is shown at D. The rivet is then 
cut off the required length, placed in position and headed up. 
The head may be made conical, I, hemispherical, J, pyra- 
midal, K, or square, L, in shape. It may be headed up simply 
with the hammer, or with a rivet header, M. 

When necessary, the process may be reversed and the 
head made first ; but when made in this way, a rivet block is 
needed to rest the head in while making the burr. 

The rivet may be made more of a decorative feature 
by sawing out of sheet metal some suitable design as shown 
at P, Q, R. Drill a hole in the center the size of the rivet 
and then use any ordinary rivet head. Nails may be made 
by the same process, headed and pointed as at S and 0. 



108 




Plate 50. 



109 



TO DRAW WIRE AND SMALL TUBING. 

Cut a piece of copper the length required, having the 
width about three times the diameter of the tube that is to 
be made. The edges must first be made parallel by filing. 




Figure 30. 



^ 



^ 



V 



u © 



Figure 31. 



In a block of maple or some hard wood, with a wood file, 
make a groove as shown at Figure 30. Place the strip of 
metal over the groove and, with a somewhat pointed ham- 



IIO 



mer, drive the metal into it until it takes the shape of a V. 
Figure 31 A. Then place it on the flat part of the block and 
strike on the edges with the hammer, turning them in until 
they meet, as at B and C. 

A draw plate is then placed in the vise. Figure 32. 




Figure 32. 

After pointing the tube a little, the end is placed in one of 
the larger holes and drawn through. This will bring it 
somewhat into shape. Repeat this operation by drawing 
the tube through the hole the next smaller in size and so on 
till the tube is of the diameter required. 

Wire may be drawn in the same way. Rectangular, 
triangular and square drawplates may be obtained as well 
as circular ones. 

POLISHING. 

To polish work, a cloth or felt buff is placed on a lathe 
or a polishing head. With a little cut-quick and rouge 
objects may be brightened by holding them against the wheel. 

Ill 



STAMPING WORK. 

The marking of work so that it will be known to whom 
it belongs and doing it in a neat and workmanlike manner 
is sometimes a problem. Using a gummed label with the 
name written on it has been tried, but the labels frequently 
come off. The name has been scratched with a sharp-pointed 
tool, but it is not an easy thing to do and certainly does not 




Figure 33. 

look well. The way described below however has proved 
very satisfactory. Have each pupil design a little trade mark 
of his own, and work it out on the end of a piece of tool 
steel, J inch or iV inch square, round or hexagonal. This 
can be done by a little filing, perhaps the use of a drill if the 
design should call for it, and a little emery paper to take off 

112 



all sharp edges. This serves as a stamp with which he may 
mark all of his work. The instructor has a book with the 
names of the pupils, and after each name he may stamp 
this mark and thereby register it so that he may tell at 
any time to whom work belongs. 

Figure 33 shows a stamp and a few suitable designs. 

COLORING. 

The most satisfactory color that can be given copper 

is a bronze which comes naturally if left to come in contact 

with varying atmospheres. If the object has a good 

polished surface in the first place the color seems to become 

richer as time goes on. . u* • ^ 

A color that is satisfactory in many cases is obtained 

in the following way: 

Place in a porcelain dish and bring to a boilmg heat, 
liver of sulphur, i oz., and water, i qt. Dip the object 
to be colored in this solution while hot and then rmse m 
clean water. This gives the object a very dark color^ 
Take a little powdered pumice stone on a piece of clotn 
and rub over the surface lightly bringing the copper color 
to the surface where desired. 

A greenish color is given copper by submitting the 
obiect to the fumes of spirits of ammonia. 

Beautiful colors are obtained by heatmg the object to 
different degrees, over a gas plate, but these results are 
not permanent. 



"3 



Chapter X. 

ENAMELING. 

Enamel may be applied to metal objects and add a 
great deal to their value and attractiveness if used sparingly. 
The enamels most used are transparent and opaque; the 
transparent reflects the color of the metal adding a great 
deal of life to the work, the opaque gives color on the sur- 
face only. 

The process, as described in this chapter, touches but 
the elementary stages of the art that are within the possi- 
bilities of high school work and possibly the upper grammar 
grades. 

Enamel may be applied by any of the following 
methods : 

First: By covering the entire surface of the object 
with enamel. 

Second: By using a flat wire which is bent into sec- 
tions the shape of the design and soldered to the object; 
the wire forms partitions to receive the enamel. 

Third: By cutting away the design by the use of 
engraving tools, making channels about 3^^^ of an inch 
deep to receive the enamel. 

Fourth : By using a chasing tool either from the front 
or from the back of the work, forming raised or sunken 
partitions to receive the enamel. 

The first and second methods are diflficult ones, requir- 
ing a great deal of experience in handling metal and enamel 
to obtain satisfactory results. 

The third and fourth methods are comparatively simple 
and are within the possibilities of those for whom this 
book is intended. 

In the third method the design is first transferred to 
the object by the use of carbon paper and then made more 

114 



permanent with a scratcher. The design is cut out with 
the engraving tools, Figures 6, 34 and 35, about 3^2^ of 
an inch deep. All edges should be kept as smooth as possi- 
ble and the channels should be uniform in depth. For 
convenience in holding, if the work is small, it may be 
fastened to a little pitch or wax spread on a block, or it may 




Figure 34. 



be placed on the pitch block as described under embossing 
on page 64. The handle of the tool is held in the palm of 
the hand, and the thumb, placed within an inch of the point, 
serves as a guide while cutting, .Figures 34 and 35. By 
wriggling the tool a little from one side to the other, 
greater progress is possible. 

In the fourth method the design is transferred to either side 

of the object. After placing it on a pitch block, depressions 

may be made from the face or lines raised from the under side. 

After the partitions have been formed, the object must 

be thoroughly cleaned and brightened by dipping in a bath 

115 



of nitric acid. After dipping, which should be done quickly 
on account of the rapid action of the acid on the metal, it 
should be rinsed thoroughly in clean water. This process 
removes all dirt and leaves the metal bright. After this 
cleaning, the fingers should not touch any part of the object 
that is to receive the enamel. 

To prepare the enamel for application it must be ground. 
First break it into small pieces with a hammer. To keep 
it from flying about, it is well to roll it up in a piece of heavy 
wrapping paper. It is then placed in a porclain mortar and, 
with a little water and a pestle, it is ground about as fine 
as fine sand. The water is poured off and the enamel 
rinsed several times in clean water until the milky sub- 
stance disappears. Unsatisfactory results often come from 
lack of care in washing the enamel. After washing it is 
removed from the mortar to a small saucer by the use of 
a palette knife. While still wet, which allows its being 
spread more easily, the enamel is applied to the object with 
a soft hair brush. 

All of the enameling suggested in this book may be 
done with an ordinary blow-pipe or a Bunsen burner, but 
more satisfactory results are obtained with a kiln. 

To apply the process to a definite piece of work, the 
steps necessary in enameling the Stamp Box cover on Plate 
24, No. 3, will be taken up. It will be assumed that the box 
is made, ready for the application of the design as shown 
on the plate. The design is first transferred to the cover 
and then cut away. It is cleaned with kerosene and dipped 
in nitric acid as before explained. After being thoroughly 
washed, it is ready for the enamel. In applying the enamel 
care must be taken not to get particles outside of the chan- 
nels. After the moisture has evaporated and the enamel 
has been fired it settles considerably so that this must be 
allowed for by rounding it above the surface. After the 
enamel has been applied, the strip that is soldered to the 

116 



under side of the cover must be protected from the heat 
before firing, as the temperature required for fusing the 
enamel is several times greater than that required for 
soldering. The soldering is protected by placing a paste 
made of yellow ochre and water about the soldered joint 




FiGunE 35. 

both inside and outside of the strip. The more of this clay 
we bank about the joint the more protection there is. When 
the above has been done, the object must be left in some 
warm place until the moisture from both the enamel and the 
clay is thoroughly evaporated. It is then ready for firing. 
If the blow-pipe or the Bunsen burner is used, take a tripod 
and place a piece of heavy iron netting over the top and 

117 



place the object on top of the netting. The flame should 
always be applied to the under side. Watch the enamel 
as the firing goes on and when it settles and glazes the heat 
should be withdrawn. The object should be allowed to 
cool very slowly. Hurrying at this point only increases 
chances for accidents. If, when cool, it is found that the 
channels in places are not full of enamel, the object is again 
cleaned in the nitric acid, more enamel applied, and fired 
as at first. The cover is now ready to finish. The enamel 
may be stoned down level with the top with an emery 
stone, or it may be left just as it comes from the fire in the 
first place. If stoned down, it is necessary to fire it again 
just enough to give it a glazed surface. 

The directions as given apply to either transparent or 
opaque enamel; but, in addition to the above, when trans- 
parent enamel is used, the surface to be enameled must 
first receive a coating of flux to retain the transparency. 
The flux is treated and applied just the same as the enamel 
already described. 

The upper half of Plate 26 shows boxes treated with 
enamel. 



118 



r-:i- 



